000			03310nam a22003018i 4500
001			zzv350 b1702143
003			DLC
005			20200122110843.0
008			181230s2019 nyu 000 0deng c
010			_a2018055067
020			_a9780525508960
020			_a0525508961
040			_aLBSOR/DLC _beng _erda _cLBSOR _dDLC _dMiTN
050		4	_aPN1992.8. S4 _bN877 2019
100	1		_aNussbaum, Emily, _d1966-
245	1	0	_aI like to watch : _barguing my way through the TV revolution / _cEmily Nussbaum.
250			_aFirst edition.
263			_a1905.
264		1	_aNew York : _bRandom House, _c[2019]
300			_apages cm.
336			_atext _btxt _2rdacontent.
337			_aunmediated _bn _2rdamedia.
338			_avolume _bnc _2rdacarrier.
505	0		_aThe big picture : how Buffy the vampire slayer turned me into a TV critic -- The long con ("The Sopranos") -- The great divide : Norman Lear, Archie Bunker, and the rise of the bad fan -- Difficult women ("Sex and the city") -- Cool story, bro ("True detective," "Top of the lake" and "The fall") -- Last girl in Larchmont : the legacy of Joan Rivers -- Girls girls girls : "Girls," "Vanderpump rules," "House of cards and Scandal," "The Amy Schumer show," "Transparent" -- Confessions of the human shield -- How jokes won the election -- In praise of sex and violence : "Hannibal," "Law & order : SVU," "Jessica Jones," -- "The jinx," "The Americans" -- The price is right : what advertising does to TV -- In living color : Kenya Barris' -- Breaking the box : "Jane the virgin," "The comeback," "The good wife," "The newsroom," "Adventure time," "The leftovers," "High maintenance." -- Riot girl : Jenji Kohan's hot provocations -- A disappointed fan is still a fan ("Lost") -- Mr. big : how Ryan Murphy became the mostpowerful man in television.
520			_a"From her creation of the first 'Approval Matrix' in New York magazine in 2004 to her Pulitzer Prize-winning columns for The New Yorker, Emily Nussbaum has known all along that what we watch is who we are. In this collection, including several substantive, never-before-published essays, Nussbaum writes about her passion for television beginning with Buffy--as she writes, a show that was so much more than its critical assessment--the evolution of female protagonists over the last decade, the complex role of sexual violence on TV, and what to do about art when the artist is revealed to be a monster. And, she also explores the links between the television antihero and the rise of Trump. The book is an argument, not a collection of reviews. Through it all, Nussbaum recounts her fervent search, over fifteen years, for a new kind of criticism that resists the false hierarchy that places one kind of culture over another. It traces her own development as she has struggled to punch through stifling notions of 'prestige television,' searching for a wilder and freer and more varied idea of artistic ambition--one that acknowledges many types of beauty and complexity, and that opens to more varied voices. It's a book that celebrates television as television, even as each year warps the definition of just what that might mean"-- _cProvided by publisher.
650		0	_aTelevision series _zUnited States _xHistory and criticism.
600	1	0	_aNussbaum, Emily, _d1966-
999			_c236593 _d236593